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Relevant bibliographies by topics / Protest literature; Black writers

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Academic literature on the topic 'Protest literature; Black writers'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Protest literature; Black writers"

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TRODD, ZOE. "John Brown's Spirit: The Abolitionist Aesthetic of Emancipatory Martyrdom in Early Antilynching Protest Literature." Journal of American Studies 49, no. 2 (May 2015): 305–21. http://dx.doi.org/10.1017/s0021875815000055.

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Before his execution in 1859, the radical abolitionist John Brown wrote a series of prison letters that – along with his death itself – helped to cement the abolitionist aesthetic of emancipatory martyrdom. This article charts the adaptation of that aesthetic in antilynching protest literature during the decades that followed. It reveals Brown's own presence in antilynching speeches, sermons, articles, and fiction, and the endurance of the emancipatory martyr symbol that he helped to inaugurate. Between the 1880s and the 1920s, black and white writers imagined lynching's ritual violence as a crucifixion and drew upon the John Brown aesthetic of emancipatory martyrdom, including Frederick Douglass, Stephen Graham, James Weldon Johnson, Walter White, black Baptist ministers, and black educators and journalists. Fusing martyrdom and messianism, these antilynching writers made the black Christ of their texts an avenging liberatory angel. The testamentary body of this messianic martyr figure marks the nation for violent retribution. Turning the black Christ into a Brown-like prophetic sign of God's vengeful judgment, antilynching writers of the late nineteenth and early twentieth centuries warned of disaster, demanded a change of course, challenged white southern notions of redemption, and insisted that African Americans must reemancipate themselves and redeem the nation.

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Hu, Xiaoran. "Writing against innocence: Entangled temporality, black subjectivity, andDrumwriters revisited." Journal of Commonwealth Literature 55, no. 2 (April 15, 2018): 277–93. http://dx.doi.org/10.1177/0021989418766664.

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This article examines the representation of time in narratives of childhood experience in Es’kia Mphahlele’s Down Second Avenue (1959) and Bloke Modisane’s Blame Me on History (1963). These two autobiographies are among the most widely-known works by the group of South African writers who have been loosely associated with Drum magazine in the 1950s. Originating from the early years of the anti-apartheid struggle and resonating widely with the heightened anticolonial resistance movements across the continent, writings by the so-called Drum writers, many of whom later went into exile, have often been viewed and criticized as “protest literature”, as literary works whose aesthetic merits are somehow compromised by the overt political purposes they appear to serve. This article seeks to revise such a reading by revisiting the politics of the stylistic innovations in these autobiographical narratives. Themes and motifs directly derived from the rhetoric of political protest, as I argue, in fact problematize a developmental logic governing the biographical transition from childhood to adulthood and contribute to a radical critique of linear temporality and teleological historiography. While writing from polemical positions and from inside the historical juncture of political resistance, these writers’ narrative reflections on and re-orderings of the relationship between the past and the present also partake of the process of refashioning modern black subjectivity, a significant move of literary intervention that still has profound resonance in our postcolonial, post-apartheid, and post-revolutionary present.

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LeMahieu, Michael. "Post-54: Reconstructing Civil War Memory in American Literature after Brown." American Literary History 33, no. 3 (August 5, 2021): 635–56. http://dx.doi.org/10.1093/alh/ajab059.

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Abstract From a cultural fad of Confederate flags to a spate of schools named after Confederate generals, the 1954 Brown v. Board decision revived the memory of the US Civil War. In their collective effort of “massive resistance,” white southerners considered themselves carrying on the legacy of their Confederate ancestors, rebelling against the federal government and insisting upon states’ rights. In response to this revival, many mid-century writers revised Civil War memory. Ralph Ellison, for example, considered the Brown decision as yet another battle in an ongoing Civil War. The works of Black writers such as James Baldwin, Langston Hughes, Pauli Murray, and Margaret Walker, as well as white writers such as Robert Lowell, Carson McCullers, Flannery O’Connor, and Robert Penn Warren, revise Lost Cause cultural narratives as they reconstruct four sites of Civil War memory: monuments, schools, textbooks, and grandparents. Writers in the twenty-first century have extended the interest in Civil War memory, from the essays of Ta-Nehisi Coates to the plays of Suzan-Lori Parks, to the fiction of George Saunders to the poetry of Natasha Trethewey and Kevin Young. The return of Civil War memory in twenty-first-century literature anticipates and represents the resurgence of civil rights protest against ongoing, state-sanctioned racial violence.

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Mosito, Phomolo. "MEMORY IN LIMBO: THE RECONSTRUCTION OF IDENTITY IN MATING BIRDS (1986) BY LEWIS NKOSI." Imbizo 6, no. 2 (June 21, 2017): 49–56. http://dx.doi.org/10.25159/2078-9785/2806.

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Lewis Nkosi’s novel, Mating birds (1986) offers a significant intervention in a history as dispersed and fragmented as South Africa’s, by focusing on those specific and critical episodes of South Africa’s past. This much-colonised country has had an extended history of perennial violence under colonialism and apartheid Some fiction by Black writers on this phenomenon may be seen to be reactive, what Njabulo Ndebele (South African writer) terms ‘Protest Literature’-and seeks to show black people as victims (Ndebele 1994). Nkosi’s novels, Mating birds (1986) in particular reverse this order through the narratives of different characters, illustrating that black people were not the passive victims of apartheid but played an active role towards its opposition and eradication. This is achieved through complex portrayal of the first-person narrative technique and interstices of memory and recall. This article explores how identity as a porous and fluid, and fragmented and fractured concept that could be used to describe the individual or communa traits of some characters, and space (prison) are portrayed in Lewis Nkosi’s Mating birds (1986).

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Kurbak, Maria. "“A Fatal Compromise”: South African Writers and “the Literature Police” in South Africa (1940–1960)." Novaia i noveishaia istoriia, no. 4 (2021): 137. http://dx.doi.org/10.31857/s013038640016186-2.

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After the victory of the National Party (NP) in the 1948 elections and the establishment of the apartheid regime in South Africa, politics and culture were subordinated to one main goal – the preservation and protection of Afrikaners as an ethnic minority. Since 1954, the government headed by Prime Minister D. F. Malan had begun implementing measures restricting freedom of speech and creating “literary police”. In 1956 the Commission of Inquiry into “Undesirable Publications” headed by Geoffrey Cronje was created. In his works, Cronje justified the concept of the Afrikaners’ existence as a separate nation, with its own language, culture, and mores. Cronje considered the protection of “blood purity” and prohibition of mixing, both physically and culturally, with “non-whites” as the highest value for Afrikaners. The proposals of the “Cronje Commission” were met with hostility not only by political opponents but also by Afrikaner intellectuals One of Cronje's most ardent opponents was the famous poet N.P. Van Wyk Louw. Yet, the creation of a full-fledged censorship system began with the coming into power of the government headed by Prime Minister H. Verwoerd, who took a course to tighten racial laws and control over publications. 1960 became the turning point in the relationship between the government and the South African intelligentsia. After the shooting of the peaceful demonstrations in Sharpeville and Langa, the NP declared a state of emergency, banned the activity of the Communist Party and the African National Congress (ANC), and apartheid opponents turned to a military struggle. The political struggle against censorship became more difficult during the armed stand-off between the apartheid loyalists and the NP deposition supporters. The transition to the military struggle was an important force for the radicalization of the intellectuals and the appearance of the “literary protest” and “black voices”. The time for negotiations and searching for compromises was over.

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LANGMIA, FORTI ETIENNE. "From apartheid to Post-Apartheid: The Representational Trajectory to a Multiracial Nation in Nadine Gordimer’s None to Accompany Me, Andre Brink’s The Rights of Desire and Zakes Mda’s The Madonna of Excelsior." Advances in Social Sciences Research Journal 8, no. 5 (June 8, 2021): 707–24. http://dx.doi.org/10.14738/assrj.85.10277.

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This article, which draws inspiration from the literary works of three South African writers, focuses on the two (amongst many) major historic periods in the life of the present-day nation described as post-apartheid South Africa. The two periods, evident in the works of Andre Brink, Zakes Mda and Nadine Gordimer under review, are the reign of apartheid and the transition to a democratic multiracial society built on the principles of equality and the respect of the rights and freedoms of South Africans. From both historical and literary standpoints, the transition to multiracialism is the outcome of the struggle of the oppressed black population of South Africa against the oppressive monolithic racist regime which ruled the country on an official governance policy which it called ‘Apartheid’. In order to enforce this inhumane worldview, the said racist regime used means of brutality and savagery with the intention of transforming the country into a ‘white nation’ that would belong to a minority-turned majority known as the Afrikaners. The often callous and gruesome acts of inhumanity perpetrated by the different racist apartheid regimes (that ruled South Africa from 1948-1994) became a major concern to the world at large and South African anti-apartheid writers in particular. Thus this category of the country’s writers tended to use literature as an instrument of protest against racial discrimination, which brought untold hardship to the black population. Andre Brink, Zakes Mda, and Nadine Gordimer are among the writers whose works vividly trace the South African experience from apartheid to post-apartheid eras. Brink, Mda and Gordimer in their respective works attempt to portray the endeavours and challenges of reconstructing the new nation from the debris of close to four decades of the brutal regime. The main issues discussed in this article are analyzed from New Historicist and Postcolonial perspectives due to the peculiar postcolonial nature of South Africa.

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Kruger, Alet. "Translation, self-translation and apartheid-imposed conflict." Translation and the Genealogy of Conflict 11, no. 2 (June 8, 2012): 273–92. http://dx.doi.org/10.1075/jlp.11.2.06kru.

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Translation has played a major role alongside original literature in each of the South African languages in aiding the construction of their cultural and literary identities. Because of apartheid (literally, ‘apartness’), Afrikaans carried a political burden and literary authors in this language were considered the protectors of Afrikaner cultural and national identity. After outlining the historical origins and the consolidation of apartheid, this paper charts the emergence of a versetliteratuur (‘protest literature’) movement among disillusioned Afrikaans authors during the apartheid era. Growing censorship and the first banning of an Afrikaans novel under the 1974 Publications and Entertainment Act led to translation and self-translation (into English) being used as a tool of resistance by Afrikaans writers against the ideology of apartheid. The paper moves on to explore the effects of apartheid-imposed conflict on other authors such as South African authors writing in English. It then focuses on the ideological agenda informing the language policy-makers’ and Africanists’ selection of books to be translated into African languages, as part of the government’s attempts to promote mother tongue education in African schools and thus perpetuate the segregation of black South Africans. The concluding section discusses how changes in political life since 1990 have influenced the use of translation in South African literature.

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Keizer, Arlene R. "Gone Astray in the Flesh: Kara Walker, Black Women Writers, and African American Postmemory." PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1649–72. http://dx.doi.org/10.1632/pmla.2008.123.5.1649.

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In the vigorous debate over Kara Walker's art—in particular, her life-size, black-on-white depictions of psychosexual fantasies seeded by American slavery—much attention has been paid to the objections raised by African American artists belonging to a generation older than Walker's. These older artists, including Betye Saar, Faith Ringgold, and Howardena Pindell, as well as commentators like Juliette Bowles, are often highlighted as Walker's main detractors, rendering the attack on her work a form of internecine, intergenerational warfare in African American intellectual and cultural life. This articulation of the debate obscures the extent to which themes and figures in Walker's oeuvre link it to the work of numerous African American women whose writing began to appear in the early 1970s. Walker is connected to literary counterparts like Gayl Jones, Carolivia Herron, Alice Randall, and Octavia Butler through her construction of characters marked by their sexual involvement with the master class. How these characters manage a set of exploitative relationships—in other words, how they explore their sexualities in the context of coercion—establishes them as a literary and visual sisterhood. Because Walker's silhouettes and other creations have been exhibited to large, integrated audiences in some of the most august international and domestic museums, they have provoked more comment and wider protests than the novels of contemporary African American women writers, but the differences in cultural reception mask the deep similarity between these bodies of work.

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Black, Alex W. "“A New Enterprise in Our History”: William Still, Conductor of The Underground Rail Road (1872)." American Literary History 32, no. 4 (2020): 668–90. http://dx.doi.org/10.1093/alh/ajaa029.

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Abstract This article presents the formal and material innovations of The Underground Rail Road (1872) and its author and publisher, William Still. Before the Civil War, Still chaired the Philadelphia Vigilance Committee, which assisted hundreds of fugitives from slavery in making their way to freedom. After the Civil War, Still wrote a book based on his records of their stories. The discrimination Black writers and readers experienced from the publishing business convinced Still to start his own. Still’s publishing business, like the movement his book documented, was the work of a collective. He called on family members, allies in reform, and friends in Black periodical publishing to produce and distribute the book. Still promoted the book and the business as an extension of the liberation movement. The labors of the fugitives he had helped, and of the booksellers he employed, would stimulate the economic progress, and protect the political and social gains, for which African Americans were striving. Still, a race man and a businessman, proposed a solution to the inequitable production and distribution of Black books. “The time has come,” he declared, “for colored men to be writing books & selling them too.”

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Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.

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This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an affinity with the surrealist notion of black humor in its vehement denial of epistemological and ethical certainty. Rejecting the efforts of Richard Wright and the existentialists to adopt an engaged form of political writing, Himes's crime fiction instead forges a kind of vernacular surrealism, one independent of the surrealist movement but nevertheless sharing surrealism's insistence on the volatility of written and political expression.

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Dissertations / Theses on the topic "Protest literature; Black writers"

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Lee, Daryl Robert. "A rival protest : the life and work of Richard Rive, a South African writer." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244217.

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Gaylard, Rob. "Writing black : the South African short story by black writers /." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/3224.

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Kenqu, Amanda Yolisa. "The black and its double : the crisis of self-representation in protest and ‘post’-protest black South African fiction." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020835.

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This study explores the crisis of representation in black South African protest and ‘post’-apartheid literature. Conversant with the debates on the crisis of representation in black South African protest literature from the 1960s to the late 1980s, the dissertation proposes a re-reading of the ‘crisis’ by locating it in the black writer’s struggle for an aesthetic with which to express the existential crisis of blackness. I contend that not only protest but also contemporary or ‘post’-protest black South African literature exhibits a split or fractured mode of writing which is characterised by the displacement/unheimlichheid produced by colonialism and apartheid, as well as by the contentious nature of that which this literature endeavours to capture – the fraught identity of blackness. In my exploration of the split or double narratives of Mongane Serote’s To Every Birth Its Blood, K. Sello Duiker’s Thirteen Cents, and Kopano Matlwa’s Coconut, I examine the representation of blackness through the themes of violence, trauma, powerlessness, failure, and unhomeliness/unbelongingness – all of which suggest the lack of a solid foundation upon which to construct a stable black identity. This instability, I ultimately argue, suggests a move beyond an Afrocentric perspective on identity and traditional tropes of blackness towards a more processual, fluid, and permeable post-black politics.

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Schindler, Melissa Elisabeth. "black women writers and the spatial limits of the African diaspora." Thesis, State University of New York at Buffalo, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163890.

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My dissertation contends that diaspora, perhaps the most visible spatial paradigm for theorizing black constructions of identity and self, is inherently limited by the historical conditions of its rise as well as the preoccupations with which it has been most closely associated. I propose that we expand our theoretico-spatio terms for constructions of blackness to include the space of the home, the space of the plantation and the space of the prison (what I call the space of justice). These three spaces point to literary themes, characters, and beliefs that the space of diaspora alone does not explain. Each chapter analyzes the work of three or four writers from the United States, Brazil and Mozambique. These writers include: Paulina Chiziane, Conceição Evaristo, Octavia E. Butler, Toni Morrison, Zora Neale Hurston, Carolina Maria de Jesus, Bernice McFadden, Wanda Coleman, Ifa Bayeza and Asha Bandele.

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Young, John Kevin. "Black writers, white publishers : marketplace politics in twentieth-century African American literature /." Jackson : University press of Mississippi, 2006. http://catalogue.bnf.fr/ark:/12148/cb40199470z.

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Gaetan, Maret. "The early struggle of black internationalism : intellectual interchanges among American and French black writers during the interwar period." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:e649fb42-e482-428b-8fd4-a62acecbb899.

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The thesis focuses on the interchanges which took place during the interwar period between the American and the French black communities. It explores the role of national and transnational frames of reference in the definition of the New Negro movement during the 1920s as well as in its reception by French black intellectuals during the 1930s. Black internationalism during the interwar period can be seen as a circuit of interconnections which resulted in multifaceted and shifting identifications encompassing national and transnational affiliations as well as, sometimes, a cosmopolitan sense of belonging. My work explores the difficulties and successes that the writers under consideration encountered at the time in their attempts to communicate with fellow black people across socio-cultural boundaries. Although, during the interwar period, the perspective shifted from a preeminence of local paradigms to an emphasis on diasporic views of the black race, the national and the transnational, understood as sites of social positioning, cultural self-definition, and political agency, remained inextricably intermingled. All the examples presented in the thesis show that literature, often understood as a national category, does not exist in a vacuum. It is constantly formed and informed through transnational exchanges. The American Harlem Renaissance depended on external sources of inspiration to come to existence. Not restricted to the United States, it then spread across territorialized borders and, in turn, affected the French black community, becoming a major influence in the emergence of Négritude. The thesis successively explores five defining instances of black internationalism: René Maran's Batouala (1921), Alain Locke's The New Negro (1925), black Parisian newspapers from the mid-1920s to the early 1930s, Claude McKay's Banjo (1928), and the early theorization of Négritude. Through the use of Glissant's notion of detour, theorized in Le Discours antillais (1981), this thesis frames 'black internationalism' as a shifting web of negotiations expanding between national and transnational spaces.

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Norris, Keenan Franklin. "Marginalized-Literature-Market-Life| Black Writers, a Literature of Appeal, and the Rise of Street Lit." Thesis, University of California, Riverside, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590040.

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This dissertation examines the relationship of the American publishing industry to Black American writers, with special focus on the re-emergence of the street lit sub-genre. Understanding this much maligned sub-genre is necessary if we are to understand the evolution of African-American literature, especially into the current era. Literature is best understood as a combinative process, produced not only by writers but various mediating figures and processes besides, at the combined levels of content, commercial production and distribution, and social and literary context. Therefore, offered here is a critical intervention into what has until now largely been a moralistic and polarizing high art/low art argument by considering street lit within the vast flows of literature by and about Black Americans, writing about urban areas, the market forces at work within the publishing industry and the writer's place in the midst of it all.

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Wolf, Jonathan T. "Liberating Blackness| African-American Prison Writers and the Creation of the Black Revolutionary." Thesis, Fordham University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10281261.

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Liberating Blackness: African-American Prison Writers and the Creation of the Black Revolutionary takes an in-depth look at a selection of works written by African-American writers who, in autobiographies and novels written during the Civil Rights and Black Power movements, utilized their own experiences with the carceral system to articulate revolutionary Black identities capable of resisting racial oppression. To articulate these revolutionary Black identities these authors would develop counter-narratives to three key historical discourses—scientific discourses of Black bodies, pedagogical discourses of Black minds, and political discourses of Black communities—that had, respectively, defined Black bodies and Black intellects as inferior to White bodies and White intellects, and subordinated the political interests of Black communities to White communities. These discourses would be used by state and federal agencies to justify racially disparate practices and processes of incarceration. In my first two chapters, I closely read The Autobiography of Malcolm X, Soledad Brother, Assata: An Autobiography, and Angela Davis: An Autobiography to look at how, respectively, Malcolm X, George Jackson, Assata Shakur, and Angela Davis utilize their own experiences in prison to craft counter-narratives about Black bodies and Black minds. I argue that while these counter-narratives aided readers in developing Black identities resistant to racist stereotypes, the dialectical frameworks that X and Jackson used in shaping their revolutionary subjectivities, informed by heteronormative, misogynist, and patriarchal beliefs, had the effect of (re)producing many of the practices of exclusion that justified the carceral system. In reaction, Black women prison writers, like Davis and Shakur, would utilize a dialogical model to develop a revolutionary Black female intersubjectivity based on practices of inclusivity, diversity and community. In my last chapter, I explore the novels Iron City by Lloyd L. Brown, and House of Slammers by Nathan Heard, novels written at the beginning and end of the era I review, to display how the counter-narratives put forth by all of these authors shaped the political landscape during the Civil Rights and Black Power eras. I argue that the changes in tone between these two works, from optimism to pessimism, reflect on how X and Jackson’s dialectical models encouraged the political balkanization of Civil Rights and Black Power organizations, which inhibited them from mounting as effective a resistance against the carceral state as they could have had they taken heed of Davis and Shakur’s intersubjective model.

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Adams, Brenda Byrne. "Patterns of healing and wholeness in characterizations of women by selected black women writers." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/720157.

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Some Black women writers--Zora Neale Hurston, Toni Cade Bambara, Paule Marshall, Gloria Naylor, and Alice Walker--of American fiction have written characterizations of winning women. Their characterizations include women who are capable of taking risks, making choices, and taking responsiblity for their choices. These winning women are capable of accepting their own successes and failures by the conclusions of the novels. They are characterized as dealing with devastating and traumatic personal histories in a growth-enhancing manner. Characterizations of winning women by these authors are consistently revealed through five developmental stages: conditioning, awareness, interiorizing, reintegrating, and winning. These stages contain patterns that are consistent from author to author.While conditioning and awareness of the negative influcences of conditioning are predictable, this study introduces the concept of interiorizing and reintegrating as positive steps toward becoming a winning woman. Frequent descriptions of numbness and disorientation mark the most obvious stages of interiorizing. It is not until the Twentieth Century that we see women writers using this interiorizing process as a necessary step toward growth. Surviving interiorizing, as these winning women do, leads to the essential stage of reintegrating.Interiorizing is a complete separation from social interaction; reintegrating is a gradual reattachment to social process. First, elaborate descriptions of bathing rituals affirm the importance of a woman's body to herself. Second, reintegrating involves food rituals which signal social reconnection. Celebration banquets and family recipes offer an important reminder to the winning woman that the future is built on the past. Taking the best of what has been learned from the past into the future provides strength and stability.The characterization of a winning woman stops with potential rather than completion. A winning woman must still take risks, make choices, and bear the consequences of her choices. The winning woman does not accept a diminished life of harmful conformity. She is characterized as discovering how to use choice and power. Novels included in this study are: Zora Neale Hurston's Their Eyes Are Watching God; Toni Cade Bambara's The Salt Eaters; Paule Marshall's Brownstone, Brown Girl; The Chosen Place, the Timeless People; and Praisesong for the Widow; Gloria Naylor's The Women of Brewster Place, Linden Hills; and Alice Walker's Meridian, and The Color Purple.
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Aqeeli, Ammar Abduh. "The Nation of Islam's Perception of Black Consciousness in the Works of Amiri Baraka, Sonia Sanchez, and Other Writers of the Black Arts Movement." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1523466358576864.

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Books on the topic "Protest literature; Black writers"

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Otfinoski, Steven. Great Black writers. New York, NY: Facts on File, 1994.

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Coles, Robert. Black expatriote writers. New York: Garland Press, 1997.

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Great Black writers: Biographies. Greensboro, N.C: Open Hand Pub., 2002.

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Black writers and the left. Newcastle upon Tyne: Cambridge Scholars, 2013.

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L, Jackson Richard. Black writers and the Hispanic canon. New York: Twayne Publishers, 1997.

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Robert, Coles. Black writers abroad: A study of Black American writers in Europe and Africa. New York: Garland Pub., 1999.

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Black Paris: The African writers' landscape. Urbana: University of Illinois Press, 1998.

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Barbara, Christian. Black feminist criticism: Perspectives on Black women writers. New York: Teachers College Press, 1997.

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Barbara, Christian. Black feminist criticism: Perspectives on Black women writers. New York: Pergamon Press, 1985.

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Jackson, Edward Mercia. Images of Black men in Black women writers, 1950-1990. Bristol, Ind: Wyndham Hall Press, 1992.

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Book chapters on the topic "Protest literature; Black writers"

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Watts, Jane. "The Literature of Combat." In Black Writers from South Africa, 211–50. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20244-7_6.

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Bekers, Elisabeth, and Helen Cousins. "Helen Oyeyemi at the Vanguard of Innovation in Contemporary Black British Women’s Literature." In Women Writers and Experimental Narratives, 205–26. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-49651-7_12.

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Kavadlo, Jesse. "White Teacher, Black Writers, White Students: Colorblindness and Racial Consciousness in Teaching African American Literature." In Teaching Race in the Twenty-First Century, 137–50. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230616950_11.

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Maxwell, William J. "Introduction." In F.B. Eyes. Princeton University Press, 2015. http://dx.doi.org/10.23943/princeton/9780691130200.003.0001.

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This introductory chapter first discusses the FBI's surveillance African American writers and imitation of black prose as part of its struggle against African American protest. It argues that unlike nearly every other institution of U.S. literary study, prone to showing interest only during well-promoted black renaissances, the Bureau rarely took its eyes off the latest in African American writing between 1919 and 1972. And during this more-than-fifty-year period, the whole of its Hoover era, it never dismissed this writing as an impractical vogue relevant only to blacks (or to bleeding-heart white “Negrotarians,” for that matter). Relying on dueling public documents of African American literature and FBI literary commentary, the book helps establish their surprising depth of contact between spy-critics and black Bureau writers. An overview of the four parts of the book is also presented.

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Gaines, Alisha. "Good Niggerhood." In Black for a Day. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632834.003.0002.

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This chapter considers the Pittsburgh Post-Gazette ace reporter Ray Sprigle’s four weeks traveling through the Jim Crow South “passing for black” in 1948. In the subsequent 21-part series, “I Was a Negro in the South for 30 Days,” Sprigle writes how he is desperate to experience and document the most extreme aspects of Southern racism or “Dixie terror;” however, Sprigle only managed to “yessir” his way throughout the South becoming what he calls a “good nigger.” After Sprigle failed to experience the Dixie terrifying racism he needed to validate his experiment, the chapter argues that “good niggerhood,” a performance of cautious and respectable, black masculinity, undermined the integrity and ultimate goals of his project. The chapter argues that Sprigle attempted to save his failing racial expedition by parroting the language of iconic sentimental texts such as Uncle Tom’s Cabin. The chapter then uses James Baldwin’s trenchant critique of sentimental literature, “Everybody’s Protest Novel,” to expose a cultural overinvestment in this kind of racial experiment.

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Parrish, Susan Scott. "Richard Wright: Environment, Media, and Race." In The Flood Year 1927. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691168838.003.0008.

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This chapter considers the extent and nature of the flood's influence on Richard Wright, and on his development as a thinker and writer. Wright saw the social and physical environments as not only shaping but also being politically—that is, humanly—shaped. This insight—which he drew from the protest literature surrounding the flood—allowed him to anticipate much work that has come out of the Environmental Justice Movement in recent years. Moreover, the canonical status of Native Son led to an association between Wright and the northern urban “street.” Once we better appreciate that Wright's critical edge came not only from the city street but also from the South's “second nature,” we see that for an author to place black characters in the southern countryside in this period is not necessarily a nostalgic gesture.

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Davis, Thadious M. "Black women’s modernist literature." In The Cambridge Companion to Modernist Women Writers, 95–109. Cambridge University Press, 2010. http://dx.doi.org/10.1017/ccol9780521515054.007.

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Traylor, Eleanor W. "Women writers of the Black Arts movement." In The Cambridge Companion to African American Women's Literature, 50–70. Cambridge University Press, 2009. http://dx.doi.org/10.1017/ccol9780521858885.004.

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"Black and White Artisan Heroes." In Cross-Racial Class Protest in Antebellum American Literature, 20–59. University of Massachusetts Press, 2020. http://dx.doi.org/10.2307/j.ctv160bt9k.5.

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Peterson, Bhekizizwe. "Black writers and the historical novel: 1907–1948." In The Cambridge History of South African Literature, 287–307. Cambridge University Press, 2012. http://dx.doi.org/10.1017/chol9780521199285.016.

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